• Korean Institute of Interior Design Journal
• /
• v.17 no.1
• /
• pp.3-10
• /
• 2008

This study is concerned with the process of development and architectural characteristics of secular stained glass in the 20th century. Stained glass had been architectural art from the origin. But it had declined since the Renaissance era, and began to revive in the early 20th century. Stained glass work is very flourish in Korea today, but it is still treated as simple decoration or 2-dimensional mosaic. Architect and interior designer even have little understanding of architectural character of stained glass. In order to recover the architectural nature of stained glass, I have considered the process of development of secular stained glass in the 20th century, and analysed the works of Frank Lloyd Wright, the postwar German artists, Georg Meistermann, Ludwig Schaffrath, Johannes Schreiter, and English artist, Brian Clarke. Major findings of the study are as followings : First, stained glass has come to life again from the secular glass painting decoration in the end of the 19th century, through Art-Nouveau, De Stil, Bauhaus in the beginning of the 20th century, and L'Art $Sacr\acute{e}$. Second, Frank Lloyd Wright, the postwar German artists and Brian Clarke have established the architectural concept and potentiality of the modem stained glass in the secular field. Third, They have done by coming back to the basic creative method by traditional lead-came technique in spite of the development of various materials and techniques. Forth, stained glass fundamentally has architectural characteristics as the characters of Space, Time, Place, Context, and they have showed the new possibility of stained glass by recovery of these characters.

• The Korean Journal of Community Living Science
• /
• v.22 no.1
• /
• pp.103-113
• /
• 2011

The purpose of the study was to examine formative features of embroidered norigae in form, color, pattern and expressive technique through positive analysis of relics and various of collections of work and to consider expressive features of embroidered norigae. The results of the study were as follows. First, embroidered norigae has handcrafted decoration. it was made by being sewed for women longing for their family's happiness. Embroidered norigae is a dress worn by women that is hung on a coat string or the waist part of a skirt. Second, it is eco-environmental. Embroidered norigae applied things seen in nature such as flowers, butterflies and bees to its pattern. Third, it has practicality. Embroidered norigae has high practical value besides a decorative function. Needle case norigae and incense case norigae provide functions in accordance with women's wisdom and skill as well as practicality. Fourth, it is praying for good luck. Women embroidered patterns symbolizing their desires in life such as their family's happiness, wealth, many sons and a long life. Fifth, it has balance and harmony. The knot of embroidered norigae has a perfect symmetry in the front/back part and in the right/left part. And the main body and tassel are symetrical in the right/left part, which gives stability and comfortableness. Embroidered norigae is classified into knot, main body and decorative part in its form. The three kinds express their unique beauty by being harmonized together. Finally, it has a property of melody. Movement of the tassel has a property of melody shaken by the wind and movement of its wearer.

• Journal of the Korean Society of Costume
• /
• v.62 no.6
• /
• pp.165-181
• /
• 2012

Alexander McQueen is a typical designer of unconventional and experimental design who showed maximalism through outstanding tailoring. The purpose of this research is to study formative characteristics of maximalism that are expressed in modern fashion based on the works of Alexander McQueen, and to suggest boundless possibilities of development through his sense of design and the expressive ability of his works. Theoretical considerations will be made through literature research and precedent studies, and the collection data for case analysis will be used to select ready-to-wear women's collections from 2001 S/S to 2010 F/W by referring to internet sites. The study results are as follows. First, the most representative characteristic of formative characteristics of maximalism expressed in Alexander McQueen's works is expandability. Second, decorations used as a part of detail on clothes is used as decoration itself, and handcraft expression is shown through excessive use of decorations. The expandability of decoration that emphasizes splendid magnificence is expressed through flawless technique. Third, the fusion of each different image and the combination of ethnic image and modern image was most prevalent. Fourth, fantasy expresses a fictive image that could not be seen in reality by expressing an unrealistic and maximized image through the imagination of designer. Fifth, experimental element is expressed as an image that actively reflects the challenging spirit, which suggests a new direction of beauty through shocking and extraordinary images of the inner world of the designer and the root of new ideas about inhumane modern society.

• Conservation Science in Museum
• /
• v.16
• /
• pp.14-31
• /
• 2015

Sword with round pommel discovered in tomb No.39 in the Jisandong tumuli group (M310) is a large sword with a looped pommel enclosing a sculpted dragon head. The sword was produced using different techniques; gold decoration, plating, openwork carving and hammering by using gold and silver. This sword treated conservation work because it has deformation and damages of handle decoration, missing part of sword, and corrosion. Conservation treatment was that foreign material and corroded metal were removed from the surface, and performed to stabilize and reinforce the weakened metal. During the conservation treatment, the object was examined to understand its materials and production method. The result of research, the dragon head inside the looped, amalgam-plated pommel has surface gold decorations. The pommel has a thin gold plate placed over a bottom plate made of copper, which was hammered to create an embossed design. The silver plate-covered hilt, cylindrical in shape, has an openwork lattice design. The steel blade is single-edged. Finally, the locket of the sheath has an embossed design also created through hammering on a thin gold plate placed over the copper bottom plate.

• Journal of the Korean Society of Costume
• /
• v.65 no.5
• /
• pp.1-13
• /
• 2015

The purpose of this study is to make a contribution to men's fashion by analyzing changes related to excessive and decorative expressions of latest men's wear design in the viewpoint of Maximalism, and using the results to develop a new fashion style. Results of the study are as follows: The characteristics of Maximalism in men's wear collection in the last 5 years can be classified as 'Fusion Maximalism, 'Decorative Maximalism', 'Exaggerative Maximalism', 'Humorous Maximalism', and 'Duplicative Maximalism'. The characteristics of each type of Maximalism can be summarized as follows: First, Fusion Maximalism creates new men's fashion style by fusing designs from different cultures in clothing items as well as dismantling gender boundaries in clothing design, and by having designs which transcends time and space. Second, Decorative Maximalism expresses ambiguous decadence by implementing feminine decoration that applies handicraft technique, as well as exaggeratedly using details and trimmings of contrasting images, and applying women's clothing items. Third, Exaggerative Maximalism represents extreme avant-garde that changes the idea of fashion design by changing the styling or the exaggerated silhouette. Fourth, Humorous Maximalism expresses not only the creation of new men's fashion look, but also expresses humanism with exaggerative enjoyment and pleasant ideas. Fifth, Duplicative Maximalism expresses creative design by implementing vivid images of different period and culture, and reproducing successful images of the past into modern fashion.

• Journal of Digital Convergence
• /
• v.17 no.9
• /
• pp.343-347
• /
• 2019

As an important branch of decoration of blue and white painting, folk blue and white painting not only has a very long history, but also has a very distinctive folklore and artistry. During the Ming and qing dynasties is an important period, in the development of the folk blue and white painting, the folk craftsmen through long-term study and practice, constantly familiar with drawing technique to master the method, combining folk life form, and folk painting decorative expression aesthetic demand, thus make the painting MinSuXing and artistic expression continuously into the blue and white porcelain painting in the process of development, become an important and indispensable component of ceramic decoration.

• Journal of the Architectural Institute of Korea Planning & Design
• /
• v.36 no.5
• /
• pp.117-124
• /
• 2020

This study examined ornamental metals used as architectural members among metal artifacts excavated from ancient Buddhist temples and palaces in Korea. Through this, we approached the decorative characteristics of ancient architecture eaves. 1. The decorations used in eaves of Korean ancient architecture include roof-end tiles and ornamental metal. Through excavation examples, the technique of attaching ornamental metal to the rafters and corner rafters of high-ranking architectures in the 7th and 8th centuries (ornamental metal for rafter end, ornamental metal for corner rafter end), and tosu iron in the 10th century It seems to be fashionable. 2. Several buildings were built in ancient Buddhist temples and palaces. At this time, they differentiated ornamental metal according to the hierarchy of the building. The higher the hierarchy, the greater the difference in the number of ornamental metal installations, materials, and decoration techniques. In addition, ornamental metal used in eaves is an important factor in the discrimination of the times as the type, number of members, and patterns change depending on the era. 3. The great feature of the eaves metal decoration excavated in the 7th and 8th centuries is the attachment of ornamental metal to the rafters and horsetails. This seems to create a sense of grandeur by removing the weight of the roof and giving the impression constructed regardless of gravity by supporting it with non-material materials.

• Korean Journal of Heritage: History & Science
• /
• v.53 no.3
• /
• pp.24-41
• /
• 2020

The engraved line expression in metal crafts is a detailed technique of carving or decorating metal surfaces. This technique engraves a line using a tool on the surface of a metal craft. This technique was used extensively in articles made of various metal materials during the Goryeo Dynasty, and the range of patterns that could be expressed and the width of users was wide. In this paper, based on relics and literature, the concept of line representation of this engraving technique used in the metal crafts of the Goryeo Dynasty and the perceptions and terms of the Goryeo Dynasty were examined. In addition, the users engaged in this craft and the specific patterns and patterns of decoration were reviewed. Through these means, it was possible to confirm various aspects of a technique that was thought previously to involve just simple expression of lines using tools. In addition, through the literature, Geumseokmun Gate, and relics currently being transmitted, it was possible to confirm the utilization patterns of techniques used in various types of objects. Various uses have led to the combination with other metal craft techniques that were popular at the time, and while utilizing unique characteristics of the techniques, this maximized the molding of various patterns. In the meantime, it is true that the intaglio technique in metal crafts has not received much attention compared to the decoration techniques of other metal crafts, such as inlay, embossing, and openwork techniques in which decorative effects are maximized due to the recognition that the technique was used so widely in relics. However, the universality of the technique is premised on its wide use across all eras. As such, it was used in metal craft relics that reflect the various cultural characteristics of Korea and various cultural aspects that are currently passed down. On the one hand, technology has been passed down as a form of intangible heritage that embodies a longstanding craft culture which continues to the present in the fields of sculpture and intangible cultural properties. As such, the universality of Seongak contains many cultural meanings. In addition, the uniqueness of the technique is distinct, and it is deeply related to Goryeo, who was in charge of the use of technology and craftsmanship of the Joseon Dynasty and the metal craft technology that is currently handed down. I think research on future techniques should be continued in depth.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.5 no.2
• /
• pp.103-113
• /
• 2003

This paper analyses the geometric aspect of Sonia Delaunay′s works on the basis of design elements and principles. Geometric pattern is one of the distinct features of early 20th century avant-garde works. The significance of its pattern and colour comes from the fact that it has not only influenced the contemporary fine art but also offered the basic principle of modern costume design. In 1925 she was designing clothes which could be worn today without appearing old-fashioned. She foresaw the future trends in fashion and interior decoration. One might claim she belongs to the avant-garde even today and no less astonishing a phenomenon than she was in 1925. Sonia Delaunay′s art was one of the first expressions of abstract painting and her "simultaneous contrasts" are among the earliest example of the aesthetic. In Delaunay′s geometric abstraction it is found that the technique of "simultaneous contrasts" is exploited almost without exception. Colour as well as Collage was the favourite technique Delnaunay used in creating a distinct simultaneity. Many "inobjective" paintings as she herself called unite the rigour of simple geometric forms with an inner life and poetry which emanate from the richness of the colour, the musicality of the rhythm, the vibrant breadth of the execution.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.10 no.3
• /
• pp.61-71
• /
• 2008

Knit wear with comfortable feeling of wearing and various coordinations gives new values to the modern people, who seek activities and individualities, and the demand for knit wear is on the rise. This article aims to analyze the aesthetic characteristics of Korean knit fashion. Fashion photographs from leading monthly fashion magazines in Korea from 2005 to 2007 had been analyzed. The knitting techniques, and designing characteristics and aesthetic values of Korean knit fashion had been studied. The major conclusions of the study are the following: 1. Korean knit fashion applies various knitting techniques. The knitting techniques used in Korean knit fashion are hand-knitting technique, crochet techniques, lace techniques, plain stitch, rib stitch, and purl stitch technique. 2. Decorations by trimming and matching with different textile materials are used more frequently than decorations by knit material itself. Decorating methods include fringes, spangle, beads, Rhine stone, motif and embroidery decorating. Matching with different textile materials made contrasting decoration effect. 3. Patterms by knitting structure and by arranging colors are applied. Cubic effect by knitting structure patterns, and geometric patterns by arranging colors are emphasized. 4. The formative feature beauties are natural beauty, feminine beauty, and decorative beauty. Korean knit fashion has developed creative and decorative designs through various knitting techniques and decorating techniques. As individual activities may be increased in the future, the designs and applications of knit fashion may be diversified.